UC-NRLF 


G-V 

1547 

H8^4      *^  "^  ^^^ 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 


The  John  J.  and  Hanna  M.  McManus 

Morris  N.  and  Chesley  V.  Young 

Collection 


"SLEIGHTS" 


BY 

BURLING  HULL 


AMERICAN  MAGIC  CORPORATION 


The  White  Wizard 


At  the  Studio- 


SLEIGHTS 


BEING 


A  Number  of  Incidental  Effects 

Tricks,  Sleights,  Moves 

and  Passes 


FOR  PURPOSES  RANGING  FROM 


Impromptu  to  Platform 
Performances 


by 


Author  of 

"Expert  Billiard  Ball  Manipulation" 

"Master  Sleights  with  Billinrd  Balls" 

"Bulletin  of  Latest  Sleights  and  Tricks" 

'Thirty-one  Rope  Ties  and  Chain  Releases" 

"Stage- Craft  for  Magicians" 

"Sealed    Mysteries" 

"Sleight  Sheets" 

"Deviltry" 

etc. 


Illustrated  by  Fifty  Photo-engravings 


AMERICAN   MAGIC  CORPORATION 


IN  PREPARATION: 


SLEIGHTS  WITH  SILKS 

The  Modern  Handkerchief  Act.    100  Tricks.    200  Illustrations. 


THE  CHALLENGE  HANDCUFF  ACT 

Complete  Secrets.  Instructions  and  directions  for  the  entire  act. 


THIMBLE  TRICKS 

A  series  of  40  Sleights  and  Tricks  with  Thimbles.    Over  70  Illus- 
trations. 


"THE  BUSINESS  END  OF  MAGIC,  OR  MAKING  MAGIC  PAY." 

Methods  of  Securing  Engagements,  Advertising.  Booking  and  Pub- 
licity, for  Lyceum,  Stage,  or  Local  Club  "Work.  Contracts,  Terms  and 
Costs. 


31  ROPE  TIES  AND  CHAIN  RELEASES 

The  first  and  a  most  complete  work  on  a  subject  of  which  very 
little  is  known  and  on  which  information  has  heretofore  been  difficult 
to  obtain.    48  Drawings. 


To  Authors : — The  American  Magic  Corporation,  incorporated 
under  the  Laws  of  the  State  of  New  York,  capital  $10,000,  is  in  the 
market  for  manuscripts  on  Magical  Subjects.  Manuscripts  of  between 
12,000  and  40,000  words  preferred,  but  subjects  must  be  original  (re- 
hashes not  wanted),  and  handled  in  a  thoroughly  practical  manner. 
Bear  in  mind  that  the  works  are  of  a  technical  nature  and  that  "Fine 
Writing"  and  literary  fiourishes  are  abominated.  Condensed  descrip- 
tions with  elaborate  illustration  by  photos  or  drawings,  in  demand. 


AMERICAN  MAGIC  CORPORATION 

LONG  BEACH  ESTATES  BUILDING 

405  LEXINGTON  AVENUE 

NEW  YORK  CITY 


Copyright,    1914 
American  Magic  Corporation 


INTRODUCTION. 

This  volume  is  the  outcome  of  a  letter  to  the  publishers  from  a 
prominent  magical  dealer,  who  said : 

"If  the  Magical  Public  as  a  whole  could  once  actually  see  your 
publications  and  thus  be  brought  to  an  instant  realization  of  their 
novelty  of  contents,  their  elaborate  illustration  and  the  fact  that  their 
sale  is  restricted  to  magieians  only,  I  feel  certain  that  you  would  at 
once  receive  an  order  from  almost  every  person  interested  in  the  subject 
of  Jklagic." 

In  order  to  test  the  foregoing  assertion,  the  publishers  have  pre- 
pared the  present  booklet  as  a  means  of  placing  in  the  hands  of  magical 
readers  within  the  shortest  space  of  time,  full  descriptions  of  the  fea- 
tures and  contents  of  these  publications,  in  order  that  the  reader  may 
draw  his  own  conclusions  of  the  value  of  these  publications,  or  of  their 
interest  to  him.  To  make  it  unnecessary  for  the  reader  to  rely  upon 
their  advertised  descriptions,  the  publishers  have  also  placed  before 
him  in  this  volume  a  few  extracts  of  these  volumes  in  order  that  the 
books  may  stand  upon  their  own  merit,  and  the  reader  be  the  judge 
beforehand  as  to  which  will  be  of  interest  to  him. 

Regardless  of  the  fact  that  this  booklet  is  distributed  under  condi- 
tions and  at  a  price  which  is  considerably  less  than  the  cost  of  produc- 
tion, every  effort  has  been  made  to  give  the  reader  full  value  in  the 
matter  of  quantity — in  fact,  we  know  of  no  book  sold  at  five  or  ten 
times  the  price  which  has  five  or  ten  times  the  amount  of  contents. 

We  feel  that  this  book  should  not  be  regarded  strictly  as  an  adver- 
tisement, for  the  contents  of  the  book  is  complete  in  itself.  And  what- 
ever descriptive  matter  is  included  is  entirely  additional  and  included 
at  the  expense  of  the  publishers.  However,  if  it  is  preferred  to  regard 
the  booklet  in  the  light  of  advertising,  surely  no  fairer  advertising 
could  be  devised  than  one  of  which  the  object  is  to  assist  the  recipient 
to  make  a  wise  selection. 

"We  trust  that  the  reader  will  find  herein  full  value  in  the  way  of 
magical  material  and  at  the  same  time  gain  some  acquaintance  with 
the  nature  and  contents  of  our  regular  publications  and  the  manner 
of  their  production;  and  their  distribution  through  magical  depots 
exclusively. 

THE  PUBLISHERS. 

968 


BURLING  HULL'S  LATEST  CARD 


(Registered  1910.    All  rights  reserved.) 

A  novelty  in  professional  cards  which  is  causing  quite  a  little  stir 
in  magical  circles  is  illustrated  above.  It  is  in  two  colors,  the  fine  type 
being  printed  in  faint  grey,  while  the  name  and  business  is  in  bold 
black.  The  fine  print,  which  is  a  list  of  copyright  books,  acts  and 
inventions,  thus  forms  a  background  for  the  card  proper,  which  is  the 
name  and  business. 

By  turning  over  one  of  the  corners  the  owner  makes  clear  the 
object  of  his  call,  i.  e.,  after  witnessing  a  magical  act  and  wishing  to 
chat  with  the  performer,  the  corner  showing  "Interview"  is  brought 
forward  and  the  card  sent  up  by  the  usher,  and  the  recipient  knows 
immediately  what  is  desired.  When  desiring  tickets  for  a  magical  show, 
"Professional  Courtesy"  is  shown.  If  the  magician  calls  on  a  fellow 
artiste  and  finds  him  out  a  corner  is  turned  over,  showing  whether  the 
call  was  merely  "Social"  or  had  for  its  object  some  important  business 
making  it  advisable  for  the  recipient  to  communicate  with  the  caller. 

"While  the  idea  is  protected  from  copyists,  permission  to  use  it  may 
be  obtained  by  a  limited  number  by  communicating  with  the  inventor. 


AUTO-MAGNETISM  SUPREME 

OR 

THE  CARD  LEVITATION. 

This  method,  which  I  invented  and  Copyrighted  in  1907,  has  since 
practically  displaced  what  was  then  considered  an  excellent  method 
of  a  very  good  trick.  But  in  spite  of  the  wholesale  manner  in  which 
the  big  dealers  of  America  and  Europe  (several  of  whom  did  not  buy 
the  sets  wholesale  of  me  as  the  more  conscientious  did)  highly  com- 
mended and  advertised  the  trick,  hardly  any  were  kind  enough  to 
credit  me  with  its  production.  Therefore,  only  those  who  purchased 
it  directly  from  my  own  firm  are  aware  of  this  fact. 

FEATURES. 

Performed  without  the  finger  rings  required  in  the  former 
methods,  without  needles,  threads,  hairs,  etc. ;  in  fact  without  anything 
but  the  cards  which  anyone  can  see  are  bonafide  playing  cards. 

The  trick  may  be  performed  at  a  few  inches  distance. 

In  the  former  method,  a  ring  worn  on  the  finger  engaged  a  metal 
clip  on  the  back  of  a  clumsy  faked  card  composed  of  two  cards  glued 
together,  with  a  metal  plate  between,  to  which  the  clip  was  soldered. 
This  metal  clip  was  not  only  awkward,  but  would  be  plainly  visible  if 
used  at  the  close  range  permissible  with  the  method  described  below. 

EFFECT. 

The  performer  standing  two  or  three  feet  from  his  spectators  (or 
even  among  them)  plainly  exhibits  each  card  on  both  sides  and  has 
his  hands  thoroughly  examined,  there  being  no  rings  on  his  fingers. 
The  cards  are  then  placed  on  his  right  palm  and  arranged  in  the  form 
of  a  star,  as  in  illustration  No.  1.  Turning  the  hand  over,  the  cards 
cling  to  the  hand  as  if  magnetized,  as  in  illustration  No.  2. 

The  perform'er  walks  down  through  the  spectators,  freely  per- 
mitting persons  to  examine  the  cards  and  hand  while  the  cards  are 
clinging  to  the  hand,  and  allows  them  to  pass  their  hands  over  the 
cards  to  prove  that  hairs,  threads,  etc.,  are  not  present. 

The  performer  then  removes  the  cards  and  again  exhibits  his 
hands  and  the  cards,  showing  each  card  separately  on  both  sides. 


No.    2. 


No.    1. 


SECRET. 

Nothing  but  the  cards  are  used,  but  the  cards  should  be  of  a 
design  with  a  circle  on  the  back  somewhat  similar  to  the  one  shown  in 
figure  A.  .On  the  back  of  one  of  the  cards  (preferably  the  Nine  of 
Diamonds)  is  glued  a  flap  made  by  cutting  out  a  disc  containing  the 
circle  design  (see  figure  A)  from  the  back  of  another  card).  This 
should  be  folded  or  creased  through  the  centre,  as  in  figure  B,  and 
glued  on  the  back  of  the  Nine  of  Diamonds  so  that  it  matches  the 
design  perfectly — leaving  half  the  flap  free  so  it  will  hinge  backward. 
When  pressed  down,  it  lies  flush  with  the  card  and  because  of  the 
design  it  is  invisible  at  a  few  inches  distance  from  the  eyes. 

WORKING. 

Place  the  prepared  card  on  the  top  of  the  pack  with  the  cards  face 
down  and  proceed  to  show  the  backs  of  the  cards  by  transferring  them 
from  hand  to  hand  as  when  counting.  This  reverses  their  order,  bring- 
ing the  trick  card  to  the  front  of  pack.  Turn  pack  over  and  show  the 
faces  of  the  cards,  which  brings  the  "key"  card  to  the  back  again. 
Show  the  hands  and  both  sides  of  the  pack.  Then  with  the  left  side 
toward  audience,  take  the  pack  in  left  hand  with  the  backs  away  from 
audience,  and  with  the  fingers  squeeze  the  sides  of  the  pack  so  that  it 
M'ill  bend  outwardly,  which  causes  the  flap  to  raise  up  from  the  surface 
of  the  pack.  Separating  the  second  and  third  fingers  of  the  right 
hand,  catch  the  flap  between  the  lower  joints  of  these  fingers,  pressing 
tliem  tightly  together.  Arrange  the  cards  with  the  edges  under  the 
"key"  card,  as  in  the  illustration.  Turn  the  hand  over  and  the  cards 
will  cling  to  the  hand  as  if  magnetized.  You  may  walk  among  the 
spectators  showing  the  apparent  phenomenon  from  all  sides  and  per- 
mitting any  one  to  pass  their  fingers  over  the  cards  and  back  of  hand 
to  prove  the  absence  of  threads:  and  may  even  hold  the  hand  directly 
in  front  of  anyone's  eyes  for  close  examination,  as  the  flap  is  just  the 
length  of  the  joints  and  therefore  invisible. 


This  trick  has  been  pronounced  a  perfect  subtlety  by  scores  of 
magicians  who  have  written  me  that  they  are  using  it  with  much  suc- 
cess. I  therefore  recommend  the  reader  to  make  up  a  set  and  try  the 
effect,  with  confidence  that  he  will  secure  just  as  much  benefit  as  if  he 
had  purchased  the  trick  from  a  magical  depot. 

Tips:  Use  the  Nine  of  Diamonds  for  the  key  card,  as  it  is  the 
most  inconspicuous  card  in  the  deck.  Have  a  duplicate  of  this  card 
among  the  cards  (about  twelve  cards  is  the  best  to  use),  but  in  ar- 
ranging on  the  palm  conceal  the  duplicate  under  another  card.  After 
removing  cards  and  when  showing  them  again  manage  to  accidentally 
(?)  drop  the  duplicate  Nine — continuing  running  the  cards  from  hand 
to  hand  and  remark,  ' '  Pardon  me,  but  will  you  pick  that  card  up  for 
me?"  Someone  is  always  too  willing  to  do  so,  and  incidentally  take 
occasion  to  examine  the  Nine — ^without  result ! 

You  may  glue  a  piece  of  thin  sheet  rubber  to  the  under  side  of  the 
flap  before  mounting  it  on  the  card,  with  the  advantage  that  you  may 
then  conclude  the  trick  by  "de-magnetizing"  the  hand  (secretly 
separating  the  fingers)  causing  the  cards  to  fall  from  the  hand  in  a 
shower  to  the  floor — ^the  elastic  drawing  the  flap  flat  and  leaving 
nothing  to  be  discovered. 

Personally,  I  only  prefer  this  method  when  I  perform  the  trick 
with  a  spectator  brought  upon  the  stage,  who  I  permit  to  pick  up  the 
cards  for  me.  I  have  never  known  one  to  discover  the  flap,  as  I  take 
the  cards  from  him  immediately  he  has  picked  them  up;  but  if  one 
should  some  time,  he  will  not  know  what  it  is  for. 


A  CARD  LOCATOR. 

A  trick  which  is  a  sort  of  "third  cousin"  to  the  foregoing,  em- 
ploying as  it  does  a  similar  idea  but  with  a  widely  different  effect  and 
purpose,  is  the  following : 

A  card,  or  several  cards,  selected  and  returned  to  the  pack  in  the 
usual  manner,  are  quickly  located  without  the  use  of  sleights  and  with- 
out the  necessity  of  maintaining  any  separation  with  the  fingers. 

The  foregoing  is  accomplished  by  cutting  out  the  center  portion 
of  a  bordered  card,  as  shown  in  illustration  "D"  and  glueing  it  on  the 
back  of  another.  This  naturally  gives  this  card  an  extra  thickness. 
By  having  this  card  in  the  center  of  the  pack  and  running  the  thumb 
along  the  back  end  as  when  "ruffling,"  the  thumb  will  stop  when  it 
strikes  the  separation,  enabling  you  to  cut  the  pack  at  this  point.  You 
may  now  permit  the  cards  to  be  returned  on  top  of  this  card,  and 
placing  the  pack  together  you  have  apparently  lost  location  of  the 
cards  selected.  However,  you  can  at  any  time  locate  them  by  passing 
your  thumb  over  the  back  and  cutting  them  at  the  separation,  thus 
bringing  the  cards  to  the  bottom.  You  may  now  execute  the  dove-tail 
shuffle,  permitting  the  selected  cards  to  fall  first  so  that  they  will  not 
become  separated.  By  having  the  card  on  the  bottom  of  the  upper 
portion  when  having  the  cards  returned,  it  will  fall  on  top  of  the 
selected  cards;  in  which  case  cutting  the  pack  will  bring  the  selected 
cards  to  the  top  with  the  faked  card  on  top — the  dove-tail  shuffle  being 
employed  in  the  usual  manner. 

I  understand  that  this  trick  was  explained  as  one  of  the  features 
of  "EXCLUSIVE  MAGICAL  SECRETS,"  but  while  I  have  no  doubt 
that  it  was  included  therein  with  good  intentions  and  is  probably  little 
known  in  England,  I  think  we  can  claim  it  in  America,  as  it  is  quite 
well  known,  having  been  advertised  and  sold  here  since  1907  as  a 
brother  trick  to  the  Card  Levitation  produced  at  that  time — U.  S. 
Copyright  No.  217996. 


No.  42. 


No.   44. 


10 


INTERLOCKED  FINGER  ACQUITMENT. 

In  this  sleight,  the  fingers  are  clasped  or  interlocked  (as  in  No.  42), 
showing  the  backs  of  the  hands,  and  are  then  turned  (as  in  No.  43), 
showing  the  palms.  In  spite  of  the  fact  that  the  hands  have  been  shown 
back  and  front  and  with  the  fingers  interlocked  in  such  a  way  as  to 
preclude  the  idea  that  they  could  take  part  in  any  sleight,  the  per- 
former nevertheless  brings  his  hands  back  to  the  first  position  and, 
blowing  on  the  palms,  then  turns  his  palms  toward  the  audience  (as  in 
No.  44),  showing  that  a  ball  has  appeared  between  the  palms. 

Operation:  The  baU  which  at  first  is  in  the  left  palm  is  gripped 
between  the  right  thumb  and  index  finger  (as  in  No.  45),  whereupon 
the  left  hand  is  immediately  twisted  so  that  the  ball  may  be  placed 
against  its  back  (as  in  No.  46),  where  it  is  retained  by  pressure  of  the 
right  index  finger.  The  left  hand  is  turned  first;  the  ball  brought 
against  it  back — then,  and  not  before  then — is  the  right  hand  turned. 

A  reversal  of  the  process  brings  the  ball  back  into  the  palm  for 
production  (as  in  No.  44). 

I  must  here  make  an  apology  for  including  this  sleight  in  a  volume 
of  otherwise  original  manipulations,  as  I  do  not  claim  to  be  the  origin- 
ator. I  worked  out  the  manipulation  myself  in  the  above  form,  but  so 
have  various  others  in  slightly  different  forms,  all  of  whom  are  equally 
certain  of  having  been  the  first.  So  I  am  unable  to  credit  it  to  any 
particular  person,  though  I  consider  the  sleight  too  good  to  be  over- 
looked. 


R.Hl/JWfs 


No.  46. 


11 


THE  MYSTIC  DIVINATION. 

(Without  Exchange.) 

In  this  trick  the  performer  first  places,  either  a  pair  oi  examined 
slates,  or  a  sealed  envelope  in  some  conspicuous  place  or  hands  the  same 
to  one  of  the  company  with  instruc- 
tions to  retain  it  until  called  for.  He 
then  passes  a  card  or  piece  of  paper 
from  person  to  person  throughout 
the  audience,  having  each  one  write 
a  figure  on  it,  having  one  number 
place.d  below  the  other.  Finally  the 
paper  is  handed  to  another  spectator 
who  is  requested  to  add  up  the 
column  of  figures  and  to  read  the 
total  aloud.  When  this  is  done,  the 
performer,  with  a  smile,  announces 
that  the  spirits  had  already  informed 
him  that  the  figures  would  add  to 
just  that  total.  To  prove  his  state- 
ment he  requests  the  person  holding 
the  envelope  or  the  slates  to  open  the 
same.  On  doing  so,  it  is  found  to 
contain  a  number  which  corresponds 
with  the  total  formerly  read  by  the 
spectator. 

The  card  is  not  exchanged,  con- 
federacy is  not  employed  and  the 
figures  totaled  axe  the  figfures  written 
by  the  audience. 

now      ITlS      liONE 


l'y\\\-\i\. 


The  Secret :  The  performer  first 
decides  upon  a  number  which  he 
wishes  the  figures  to  total  to ;  which 

in  this  case  we  will  say  is  42 ;  and  this  number  is  written  on  the  slate 
or  the  card,  and  placed  within  the  envelope.  A  card  or  piece  of  paper 
is  carried  from  one  person  to  another  with  the  request  that  each  write 
a  single  figure.    In  carrying  the  card  from  person  to  person,  the  per- 


12 


former  keeps  track  of  the  numbers,  adding  each  to  the  former  as  it  is 
put  down;  this  being  done  under  cover  of  showing  how  to  place  the 
numbers  one  below  the  other. 

Tho  moment  the  total  reaches  33  or  over,  the  performer  stops  and 
calls  for  a  volunteer  to  add  up  the  numbers,  and  announces  that  in 
order  to  prove  the  paper  is  not  exchanged,  he  will  place  the  initials  of 
one  of  the  spectators  on  the  paper.  Someone's  initials  are  suggested 
and  the  performer  writes  them  in  one  corner  and  at  the  same  time  he 
secretly  adds  a  figure  sufficient  to  bring  the  total  up  to  42.  If  the 
genuine  total  is  33  he  therefore  adds  9  under  the  last  nmnber — or  if  it 
is  34,  he  writes  8,  etc. — immediately  drawing  a  line  under  the  column, 
and  handing  it  over  to  be  added  up.  The  spectators  of  course  have 
no  idea  that  he  has  done  anything  more  than  to  place  the  initials  in 
the  corner  for  the  purpose  of  identification. 

The  trick  is  concluded  as  described,  and  if  carried  through  with  a 
little  audacity,  proves  very  effective.  It  has  even  been  known  to 
puzzle  magicians. 

For  Double  Figures :  To  make  the  trick  more  effective,  it  should 
be  performed  with  double  figures,  but  I  explained  the  trick  with  single 
figures  in  order  to  make  the  method  of  operation  clear  to  the  reader, 
who  can  then  easily  adopt  it  in  the  following  form.  In  this  case  the 
performer  should  fix  upon  a  number  somewhere  in  the  four  hundreds 
for  his  total.  We  will  say  for  instance  462.  He  should  then  keep  track 
of  the  numbers  and  the  minute  they  total  as  mucb  as  363  or  over  he 
must  stop  and  proceed  as  described  above,  adding  a  sufiicient  number 
to  bring  the  total  to  462. 


13 


Extract  from  "EXPERT     BILLIARD     BALL     MANIPULATION," 

Copyright,  1910,  by  BURLING  HULL  STUDIO,  167  Senator  St., 

Brooklyn,  New  York  City. 

BURLING  HULL  HKF.  A.ND  BALL  PRODUCTION. 

Effect:  Performer  shows  both  sides  of  a  large  linen  Hkf.  and  in 
such  a  way  that  the  audience  is  at  all  times  able  to  see  the  performer's 
hands  (see  Nos.  62  to  65).  On  placing  one  hand  in  the  folds  of  the 
Hkf.  a  solid  ball  is  produced  and  everything  may  be  examined.  This 
is  one  of  the  neatest  and  most  effective  tricks  made  possible  by  the  use  of 
a  novel  sleight. 

Operation:  See  Nos.  66  and  67,  which  illustrates  the  manner  of 
retaining  the  ball,  yet  leaving  the  fingers  apart,  while  showing  Hkj' 
As  the  other  side  of  Hkf.  is  turned  the  fingers  twist  around  so  that 
ball  is  concealed  behind  Hkf.  again.  The  vital  point  in  this  operation 
is  to  cover  the  change  by  raising  left  corner  of  Hkf.  so  as  to  conceal 
the  shift,  as  illustrated  in  No.  64. 


i:o.  c" 


No.  64 
14 


No.   67 


N.  B. — The  two  following  effects  are  extracts  from  "Deviltry" 
(copjrright,  1909,  by  Burling  Hull),  by  permission.  The  wording  and 
the  illustrations  being  exactly  the  same  as  in  the  original,  the  enum- 
eration  of  the  illustrations  has  also  been  retained. 

BURLING  HULL  CONE  FLIGHT. 

New  effects  with  ball  are  extremely  scarce.  Though  there  exists  a 
fair  number  of  ball  slights,  they  are  lamentably  alike  in  appearance. 
The  many  "new"  sleights  are  new  in  principle  only,  but  old  in  effect. 
The  result  is  that  though  the  performer  may  employ  very  clever  new 
sleights,  the  audience  is  bored  with  the  same  old  stereotyped  multi- 
plication, vanish  from  hand  and  production  from  mouth,  elbow,  etc. 
It  was  with  the  object  of  injecting  a  little  originality  into  the  effect  as 
well  as  method  of  ball  work  that  the  writer  designed  the  following. 
Shortly  after  its  introduction  it  was  rumored  that  the  originality  was 
claimed  by  another  performer,  by  whom  it  was  for  sale.  Investigation, 
however,  proved  that  the  trick  was  entirely  dissimilar,  requiring  two 
balls  and  the  use  of  rubber  balls  in  place  of  the  solid  ball  used  in  the 
correct  method. 

Effect:  The  performer  shows  a  solid  ball,  a  paper  cone  which  is 
entirely  empty,  and  both  hands  also  empty.  The  cone  is  placed  upon 
table.  The  ball  vanishes  from  hands  and  upon  lifting  cone  is  found  to 
have  passed  under.  This  is  repeated  several  times,  yet  performer 
shows  he  has  but  one  ball  and  cone  empty,  each  time. 

Working :  After  the  multiplying  ball  trick,  is  a  good  time  to  intro- 
duce this  effect.  A  ball  with  the  half  shell  on  it  is  exhibited  in  the 
right  hand  in  such  a  manner  that  spectators  can  see  you  hold  nothing 


Photo  12 


Photo  14 


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but  the  ball,  and  a  paper  cone  is  shown  to  be  empty  in  the  left  hand, 
as  in  photo  (12).  Transfer  the  cone  to  the  right  to  enable  you  to  show 
the  left  hand  empty,  gripping  it  between  first  and  second  fingers,  ah 
in  photo  (13),  Just  as  you  turn  to  show  left  hand  and  eyes  are  upon 
that  hand,  let  ball  drop  from  behind  shell  into  cone.  It  is  really  un- 
necessary to  direct  attention  to  left  hand,  as  should  attention  be  upon 
cone  it  is  impossible  to  detect  ball  dropping  from  behind  shell.  Place 
cone  upon  table,  gripping  ball  through  sides  of  cone  as  you  invert  it 
and  releasing  it  after  standing  it  upon  table.  Insert  a  thickness  of 
felt  under  cover  of  your  table  about  3  inches  square,  which  will 
deaden  any  sound  of  ball  dropping.  Vanish  shell  by  palming.  Lift 
up  cone  by  extreme  end  with  left  hand  exposing  ball.  Pick  up  ball 
with  right  hand,  press  it  into  the  palmed  shell  as  in  photo  (14),  then 
exhibit  ball,  cone  and  hands. 

Tips:  Ball  may  be  given  for  examination  by  having  shell  in  cone. 
Ball  may  be  dropped  in  cone  and  brought  out  with  shell.  By  covering 
inside  of  shell  with  newspaper  the  flight  may  be  reversed,  dropping 
shell  in  cone,  holding  same  so  it  appears  to  be  the  ball,  pushing  it  far 
into  cone  so  it  sticks.  Produce  real  ball  from  sleeve  or  elbow,  showing 
cone,  which  appears  empty  on  account  of  the  paper  covering  matching 

cone. 

CONE  VANISH. 

Effect:  After  the  "Flight"  the  performer  tosses  cone  out  for  ex- 
amination and  while  it  is  being  inspected,  picks  up  a  second  cone. 
Plainly  placing  ball  in  cone,  it  is  held  at  tips  of  fingers.  Suddenly 
crushing  cone,  the  ball  has  vanished.  This  is  followed  by  reproduction 
of  ball  and  changes,  etc.,  with  ball  and  paper. 


Photo  15 


Photo    16 


Photo  17 


Working:  A  hole  a  little  larger  than  the  ball  to  be  used  is  cut  in 
the  side  of  the  cone  about  one-half  inch  from  mouth  of  cone.  Cone  is 
stood  on  table  with  hole  away  from  audience.  In  picking  up  cone  turn 
the  right  hand  so  the  thumb  points  down,  picking  up  cone  from  behind 
so  palm  of  hand  covers  hole.  Turn  it  up  and  tilt  it  slightly  toward 
audience,  as  in  photo  (15),  Placing  ball  plainly  inside,  press  ball 
through  hole  and  into  palm,  as  in  photo   (18).    Then  turn  cone  half 


way  around  so  hole  will  be  out  of  sight  and  raise  it  to  finger  tips,  as 
in  photo  (17).  Suddenly  catch  cone  and  crush  it  in  left  hand.  Roll 
it  into  the  shape  of  a  ball,  pretend  to  place  it  in  the  other  hand  (really 
palming  it)  and  substitute  the  ball. 

Remark:  "Sometimes  I  make  it  so  round  it  looks  just  like  the 
ball." 

Open  hand  showing  it  "looks"  very  much  like  a  ball.  Press  paper 
ball  flat  as  you  bring  hands  together  and  back  palm  it  as  you  turn  to 
show  hands  empty,  covering  the  back  .palming  with  the  other  hand. 
Many  changes,  etc.,  will  suggest  themselves  to  the  reader.  This  is  one 
of  the  most  effective  and  subtle  ball  vanishes,  and  properly  executed 
has  puzzled  some  of  the  cleverest  manipulators. 


EXTRACT  from  "AMAGICOR"  publications. 

A  UNIQUE  THIMBLE  "MOVE." 
Effect:  The  thimble  is  placed  on  the  tip  of  the  second  finger  of  the 
right  hand.  This  is  slowly  inserted  in  the  left  hand  as  in  photo  (D), 
and  as  slowly  withdrawn,  but  without  the  thimble,  as  in  photo  (E). 
After  the  usual  interval,  the  left  hand  is  slowly  opened  and  the  thimble 
has  vanished.  » 


No.  D 


No.  E 


No.  F 


Working:  The  beauty  of  this  vanish  lies  in  its  lack  of  suspicious 
movements  and  the  slowness  with  which  it  is  executed.  The  thimble 
fairly  enters  left  hand  and  the  finger  fairly  comes  out  empty,  as  illus- 
trated in  photos  (D  and  E  ),  but  by  looking  at  photo  (F),  the  secret 
lies  exposed.  The  second  finger  bends  around  the  thumb  and  the  first 
and  third  fingers  grip  the  thimble  on  each  side.  The  second  finger  is 
straightened  and  withdrawn  from  hand.  The  thimble  may  be  immedi- 
ately thumb-palmed,  center-palmed ;  the  hand  may  be  straightened 
so  thimble  lies  finger-palmeS  under  second  finger,  or  it  may  be  back- 
palmed  and  the  inside  of  hand  shown.  The  moves  should  be  operated 
with  considerable  slowness  to  bring  out  the  full  effect. 


19 


THE  INDECEPTIVE  DECEPTION. 

This  is  one  of  those  tricks  which  gain  their  eftect  by  means  of  the 
performer  outwitting  the  spectators  while  apparently  demonstrating 
that  no  deception  is  employed. 

Explanation :  A  trick  well-known  to  the  public  is  that  in  which  the 
performer  has  a  selected  card  returned  to  the  pack  by  cutting  the 
pack,  and  while  doing  so  takes  opportunity  to  memorize  the  bottom 
card  of  the  upper  portion,  which,  when  the  upper  portion  is  returned, 
causes  the  memorized  card  to  fall  next  to  oj?  above  the  selected  card, 
thereby  enabling  the  performer  to  locate  the  selected  card  on  looking 
through  the  pack  later. 

Effect :  A  selected  card  is  returned  to  the  pack  in  the  manner  de- 
scribed above,  except  that  just  as  the  performer  is  about  to  place  the 
upper  portion  above  the  card  he  interrupts  himself  and  remarks  that 
he  has  just  remembered  that  there  is  a  method  of  locating  a  card  by 
memorizing  the  one  above  it.  He  describes  the  trick  and  illustrates 
how  the  card  would  come  above  the  selected  one  by  bringing  the  upper 
packet  down  at  right  angles  on  the  lower,  as  in  No.  33 ;  but  in  order  to 
prove  that  he  does  not  resort  to  such  trickery,  he  changes  his  course 
and  with  his  thumb  pushes  the  selected  card  off  the  top  of  the  low^er 
portion  and  into  the  center  of  the  upper  packet  as  shown  in  No.  34. 
Everything  is  apparently  fair,  especially  if  the  performer  gives  the 
pack  a  dove-tail  shuffle  and  even  submits  the  packet  to  the  audience  for 
the  same  purpose.    The  card  is  in  the  performer's  possession  at  once. 

Operation:  At  the  point  illustrated  in  No.  33,  the  left  fingers  pass 
upward  and  press  slightly  against  the  top  card  of  the  upper  portion.  As 

the  hands  swing  toward 
the  right  side  and  the 
left  hand  points  to  the 
card,  which  the  per- 
former explains  is  mem- 
orized— the  left  fingers 
draw  off  the  card  from 
the  top  of  the  upper 
packet  onto  the  lower. 
This  is  done  just  as  the 
hands  are  turned  over, 
as  shown  in  No.  33, 
which  should  be  accom- 
panied by  a  swing  to 
the  right.  This  covers  the  slip,  which  in  this  trick  must  be  executed 
far  more  noiselessly  than  usual,  as  the  spectators'  attention  is  cen- 
tered on  the  cards.  Do  not  press  too  hard  on  the  slipped  card,  which 
will  cause  it  to  snap  down — but  drawing  it  off  lightly,  let  it  come 
slowly  against  the  packet  as  the  turning  movement  is  designed  to  coVer 
the  operation  completely. 


20 


Referring  to  No.  35,  "  B "  represents  the  slipped  card,  which  is,  of 
course,  the  one  pushed  into  the  packet.  The  cards  are  then  dove- 
tailed shuffled  and  "A,"  the  selected  card,  is  allowed  to  fall  on  top. 
If  preferred,  pause  at  this  point  (as  shown  in  No.  35)  where  '*B"  is 
half  way  in  the  packet,  extending  that  portion  to  a  spectator,  and  re- 
mark, "Here,  push  the  card  in  with  your  own  hand,"  and  after  doing 
so,  "While  you  have  the  cards  you  might  as  well  shuffle  them."  When 
the  portion  is  returned,  place  your  half  on  top  and  execute  the  top  and 
bottom  false  shuffle,  or  cut  and  dove-tail  shuffle  them,  permitting  the 
selected  card  to  fall  on  top  at  the  end. 

AN  IMPROVED  DICTIONARY  DIVINATION. 

This  "Spiritualistic  Feat"  is  one  which  I  have  found  to  have  a 
remarkably  convincing  effect  in  lyceum  and  society  programs. 

In  this  form  there  are  no  awkward  subterfuges  requited  and  it 
is  possible  to  use  in  place  of  the  usual  dictionary  a  popular  novel  of 
the  day  or  the  Lodge  Manual  or  Year  Book  of  the  organization  you 
are  performing  before,  which  adds  increased  interest. 

Effect:  The  best  effect  is  obtained  by  use  of  the  Spirit  Slates 
which  are  cleaned  and  hung  in  a  conspicuous  place  or  held  by  a  promi- 
nent individual.  Several  books  are  now  made  into  piles  of  three  each, 
from  which  a  pile  is  selected  by  spectators,  and  a  book  of  the  pile.  But 
in  order  to  give  the  reader  a  better  idea  of  the  flexibility  of  the  trick 
I  insert  here  an  extract  from  a  press  description  of  an  interview  in 
which  the  trick  was  employed. 

THE  PRESS. 

******  "Another  good  trick  of  spiritualistic  aspect  which  I  have 
frequently  used  on  the  stage  and  at  society  entertainments,  I  will 
demonstrate  for  you. 

"Here  are  some  visiting  cards,  select  one,  and  then  place  it  inside 
this  envelope,  and  the  envelope  in  your  pocket. 

"Open  this  pack  of  playing  cards  and  take  out  ten  cards  from 
any  part  of  the  pack  you  wish.  *  *  Now  count  the  spots  on  the  ten 
cards.  You  have  one  picture  card  ?  Well,  as  that  card  has  two  pips  or 
spots,  one  at  each  end,  we  will  count  that  as  two. 

' '  The  sum  total  is  56  spots  you  say  ?    Make  a  note  of  it. 

"Now  here  are  two  books  on  magic  of  which  I  am  the  author, 
entitled  'Expert  Billiard  Ball  Manipulation'  and  'Sealed  Mysteries.' 
These  I  place  in  one  pile.  Here  is  my  novel  'The  Drop  of  Wisdom'  and 
a  copy  of  the  'Standard  Dictionary'  in  a  second  pile.  Now  take  one 
of  the  piles  from  the  table.  You  take  the  novel  and  the  dictionary 
away,  which  leaves  the  two  books  on  magic  on  the  table.  I  place  these 
at  the  right  and  left  side  and  ask  whether  you  wish  me  to  use  the  right 
or  left  book.  The  left?  Very  well ;  take  the  book  at  your  left  hand 
and  open  to  the  fifty-sixth  page  (56  was  the  number  of  spots  found  on 
the  ten  cards  selected)  and  read  the  first  word  on  that  page."  (It  was 
the  word  "Mago-graphs"). 

21 


"Now  I  will  open  the  envelope  you  have  in  your  pocket  and  here 
is  the  card  which  you  placed  inside  and  across  the  face  of  the  card  you 
see  the  'Spirits'  have  written  the  word  ' Mag-o-graphs. '  " 

It  was  as  the  "White  Wizard"  has  said,  and  after  inspecting 
each  of  the  four  books  used  and  learning  that  the  top  word  on  page  56 
was  different  in  each  book,  the  writer  was  beginning  to  feel  a  decidedly 
chilly  sensation  in  the  vicinity  of  his  spinal  column  when  this  modern 
Yogi  condescended  to  explain. 

Laying  out  the  pack  of  cards  he  showed  that  they  were  arranged 
in  the  following  order :  8  spot,  3  spot,  picture  or  court  card,  10  spot,  7 
spot,  9  spot,  4  spot,  5  spot,  2  spot  and  6  spot.  The  suits  of  the  cards, 
Clubs,  Hearts,  Spades  and  Diamonds,  were  not  arranged  in  any  par- 
ticular order  but  so  mixed  as  to  give  the  impression  of  natural  dis- 
arrangement. He  explained  how  the  cards  may  be  further  freed  from 
suspicion  by  dropping  the  pack  in  a  hat  and  shaking  it  about,  which 
by  an  almost  unbelievable  natural  law,  will  not  mix  the  cards  or  dis- 
turb their  order,  though  it  will  seem  to  the  audience  that  the  cards 
must  be  thoroughly  mixed.  The  cards  may  then  be  taken  out  and  the 
trick  proceeded  with. 

The  rest  is  explained  in  the  Wizard's  own  language : 
"Ten  cards  taken  from  any  part  of  this  arranged  pack,"  he  pro- 
ceeded, "will  always  total  56  spots,  so  long  as  they  are  taken  together. 
Next,  your  choice  of  the  book  to  be  used  was  under  my  control  at  all 
times.  For  when  you  selected  one  pile,  taking  it  from  the  table,  I  said, 
*That  leaves  the  two  books  on  Magic  on  the  table  to  proceed  with.' 
Had  you  selected  the  other  pile  I  would  have  said,  'You  select  this 
pile  ?  Very  well,  we  will  use  whichever  you  select  of  the  two  books,  in 
the  pile  which  you  have  just  taken — either  the  right  or  left  ? ' 

"Next  you  chose  the  left  hand  book,  which  was  the  one  I  desired 
you  to  take.  However,  had  you  said  the  right,  I  would  then  have  said, 
*  Certainly,  I  will  take  the  book  at  my  right  hand, '  and  as  I  was  facing 
you,  my  right  side  was  the  same  as  your  left.  Therefore,  right  or  left, 
I  had  your  choice  under  my  control. 

"Now  as  for  the  writing  on  the  visiting  card.  The  envelope  in 
which  you  placed  the  card  was  prepared,  but  so  cleverly  that  you  would 
never  have  suspected  it  had  you  examined  it.  It  was  made  by  cutting 
out  the  back,  or  part  of  the  envelope  which  bears  the  address,  leaving 
the  flap  on,  and  this  was  inserted  within  another  envelope  and  between 
the  double  back  a  duplicate  card  bearing  the  writing  was  inserted.  The 
outside  flap  was  moistened  and  stuck  to  the  inner  flap  and  the  envelope 
was  ready  for  use.  In  tearing  open  the  envelope  I  tore  off  one  end  and 
slipping  my  fingers  in  the  right  compartment,  drew  out  the  card  previ- 
ously placed  there.  The  envelope  I  slipped  into  my  pocket  and  had  it 
later  occured  to  you  to  ask  to  see  it  I  would  have  handed  you  a  dupli- 
cate unprepared  envelope  which  I  had  previously  placed  there  for  such 
an  emergency." 

22 


At  the  conclusion  of  his  explanation  the  Wizard  added  some  im- 
portant advice  on  what  to  do,  and  what  not  to  do,  when  performing 
the  tricks. 

"Always  take  plenty  of  time  when  performing  a  trick.  It  is  a  great 
mistake  to  hurry  through  as  the  spectators  cannot  appreciate  the  trick 
and  it  often  causes  a  slip  or  error  on  the  part  of  the  performer.  Tell 
the  audience  a  little  story  about  each  trick  as  you  perform  it,  thus  in- 
creasing their  interest  and  giving  you  more  time  to  make  the  secret 
movements  required. 

"Never  attempt  a  trick  publicly  until  you  have  practised  it  at 
least  a  few  times  before  a  mirror  or  you  will  be  sure  to  make  a  mistake 
or  forget  something. 

"Never  under  any  condition  explain  a  trick  even  to  your  best 
friends.  The  mystery  is  the  whole  charm  of  a  trick  and  the  minute  you 
explain  a  trick  it  is  a  disappointment  to  all. 

"Never  repeat  a  trick  no  matter  how  hard  your  audience  may 
1)1  ead  for  a  repetition.  Repeat  a  trick  and  you  will  not  only  run  a  great 
chance  of  exposure  (for  a  person  is  seldom  deceived  twice  in  the 
same  way),  but  the  element  of  surprise  is  lacking.  If  pressed  to 
do  so,  repeat  the  effect,  but  use  another  method,  or  perform  it  for 
another  person  privately." 

?- "WHERE '^-? 

or    "THE  GHOST  CARD" 
A  Startling  Effect:  A  selected  card  (card  may  he  se- 
lected mentally)  is  caused  to  vanish  from  the  per- 
formers bare  hands. !  ! ! 

No  covering  used.  No  sleights,  flesh  color  or  attach- 
ments. Any  card  selected  caused  to  vanish.  The 
manufacturers  guarantee  that  the  three 
new  principles  employed  have  never 
been  used  in  any  card  trick  before — or 
will  forfeit  $  1  OO.OO 

Can  be  performed  10  inches  from  the  eyes. 

^1^^=^  Cards  are  waterproof,  being  highly  finished  with  a  waterproof  coat- 

ing after  printing,  may  be  washed  when  soiled  and  will  last  forever.  Cards  are  of  Finest 
Treasury  Bristol,  cannot  crack,  may  be  bent  double  and  will  spring  back  into  shape  as  good 
as  ever.  The  material  alone  cost  3V^  times  that  used  in  any  other  Trick  Cards  on  the  market  to 
produce. 

Complete  Set  of  beautifully  finished  cards  and  everything  required,  large  14x10  illustrat- 
ed sheet  of  instructions  (the  most  elaborate  ever  furnished  with  a  card  trick.) 

PRICE  SO  cents  ENGLAND         2s  2d 

cheaper  grade  2S  cents         .        .  Is  Id         PostFreelsSd 

23 


The  BOOK  That  You  MUST  Have 


\ 


ART  OF  THE  STAGE 

MAQCAL 
STAGECRAFT    and    SHOWMANSHIP 


IHISISIETISISISISISISTSITI 


AMERICAN   MAGIC   CORPORATION 


THE  ART  of  the  STAGE 


OR 


"Magical  Stage-Craft  &  Showmanship" 

"  The   Inner  Secrets  of 
Successful  Performing  " 

Plain  "Straight-from-the-shoulder,"  instruct- 
ions in  what  to  do  and  say  during  the  enter- 
tainment, from  the  moment  of  Entrance  to 
the  final  Curtain,  and  the  Encore. 

The  most  valuable  information  ever  put  be- 
tween two  covers  for  the  magician  who  wishes 
to  achieve  success  in  his  entertainments.  This 
is  not  a  theoretical  discussion  of  the  subject 
Printed  on  Heavy   Antique  ^  ^^  ^^^  previous  attempts  have  been  )but  cow- 
Art  Tint  Paper,  Beautiful     ^^^^^^  practical  knowledge  gained  by  exper- 


Covers  of  Marbled  Opal 


ience  in  handling  audiences. 


INCLUDING: 
Effective  Entrance:  Magical  Music:  The  Bow: 

Voice  Throwing:  Sylabic  Pronunciation:  Gesture: 

Carriage:  Opening  Address:  Opening  Tricks: 

Creating  Applause:  Stage-fright  Cure: 

Curtain  Handling:  Bringing  Spectator  on  Stage: 

Tricks  for  Encores:  List  of  Hits  and  Programs  for 

Special  Occasions,  etc.  etc.  etc. 

.  The  information  does  not  require  long  study  but  may  be  applied  in  the  rea- 
ders next  entertainment.  It  will  make  a  finished  artiste  of  the  rawest  material. 
No  Magician  should  be  without  this  book.       Price  so  eta.  28.  2d. 


Contents  of  Part  One 


Manner  of  Effective  Entrance:  Rapid  entrance — mysterious  entrance — 
where  made  from  and  how — suiting  entrance  to  style  of  performance — location 
of  settings  in  relation  to  entrance. 

Correct  Carriage:  How  achieved — length  of  step  in  relation  to  style  of 
performance — quick  method  of  setting  oneself  for  perfect  carriage  before  en- 
trance. 

Position:  While  manipulating — position  for  feet  in  turning — correct  posi- 
tion in  turning  for  change  over  palm — tips  for  walking  away  from  audience — 
for  walking  across  stage. 

The  Bow:  Entrance  bow — how  made — bow  at  conclusion  of  important 
trick — bow  at  conclusion  of  act — bow  at  curtain  call. 

Gestures:     Forms  of  gestures — to  indicate  article  or  person. 

Mannerisms:  Performing  in  mysterious  manner — ^the  brilliant  type  of  per- 
formance— types  of  individuals  adapted  for  various  styles — how  the  reader  can 
decide  which  he  is  best  suited  for. 

Employing  Facial  Expression:  Illusion:  Illusion  of  stage  which  makes  or- 
dinary smile  appear  a  grin— correct  stage  smile  and  how  it  is  employed  as  a 
principle  of  suggestion — dramatic  expression — examples  of  how  to  employ  af- 
fected surprise — bewilderment,  disappointment — hearty  amusement,  etc. — to  in- 
crease the  effectiveness  of  the  tricks. 

Advice  on  Dress:  Relation  to  different  styles  of  performance-^when  not 
to  wear  evening  dress — a  novelty  in  magical  costume. 

Elocutionary  Principles:  Making  the  voice  carry — secret  of  voice  power — 
proper  breathing  for  greater  volume — proper  pitch  for  voice  in  public  speaking — 
securing  depth. 

Pronunciation:  Position  for  tongue  and  lips  for  clearer  and  sharper  pro- 
nunciation— what  to  avoid — lips  aiding  audience  to  distinguish  words — syllabic 
pronunciation — its  principles  and  reasons. 

Opening  Address:  When  and  where  appropriate — what  it  should  consist 
of — four  types  of  opening  address — suggestions — detailed  examples  of  incorrect 
address— detailed  examples  of  correct  spacing  and  delivery. 


Contents  of  Part  Two 


Stage  Fright  and  Its  Cures:     Its  cause  and  a  certain  method  of  avoiding  it. 

Stage  Nervousness  Another  Thing:  How  experienced  performers  over- 
come its  attacks — advice  from  the  author. 

Music  for  Magical  Acts:     Suitable  pieces  suggested — their  application. 

Opening  Trick:  Style  of  tricks  suitable  for  opening — bad  results  of  good 
tricks  used  for  opening — the  performance — list  of  tricks  suggested  for  opening 
and  methods  of  presenting  them — original  opening  tricks  by  the  author  de- 
signed for  Lyceum  use — construction  of  opening  tricks. 

Securing  Applause:  Methods  of  leading  audience  to  applaud — and  applause- 
drawing  tricks — creating  applause — methods  of  creating  applause — starting  ap- 
plause— forcing  applause  when  slow — why  some  acts  go  "cold" — secret  of  draw- 
ing applause — methods  of  dramatic  presentation  to  draw  applause — handling 
curtains — using  curtains  to  prolong  applause — curtains  at  end  of  illusion  act. 

Conclusion  of  Act — Curtain  calls — speaking  before  curtain — bowing  off. 

Encores:  Great  danger  of  employing  even  the  best  of  tricks  for  encores — 
list  of  tricks  suitable  for  encores — author's  suggestions — some  humorous  effects 
for  encores — where  encores  can  be  used  to  advantage. 

Program  of  Hits  for  Special  Occasions:  Hits  for  large  conventions — some 
combinations  suggested  for  lodge  and  club — hits  for  children's  entertainments — 
hits  for  church  entertainments— features  for  children's  entertainments — special 
program  for  private  society  entertainments. 

25 


Master  Sleights  with  Billiard  Balls 


MASTER  SLEIGHTS 


AMERICAN  MAGIC  CORPORATION 


50  PHOTO  ILLUSTRATIONS  ON 
lOO  LB.  ENAMELED  ART  PAPER 
SILK.     CORD    ART      BINDING 


"The  Ball  that  Went 
Out  of  Sight"  -  - 
"Chapenders  Change" 
"  Lightning  Vanish" 
"Mysterious  Ball" 
B.  H.  New  Acquitment 
"Perfection  Twirl" 
"WiU'o-the  Wisp" 
-  -  -  and  -  -  - 
many  other  "Limit" 
effects. 


A  further  treatise  by  the 
author  of  "Expert  Billiarci 
Ball   Manipulation." 

FEATURES  "* 

Original    Master   Sleights 

Of  the   Master   Billiard   Ball 
Manipulator 

AND 

A    Complete    30  -  Minute 
Manipulative  Act 

AND 

Explanation     of    the 
Author's     Combination 

Ball  Stand,  Contrast 

Screen   and    Vanishing 

Apparatus 


The  most  valuable  apparatus  for 
the  manipulative  artiste  ever  de- 
vised. Also  explanations  of  the 
"Invisible  Trap"  (converting'  any 
undraped  table  into  a  magical 
table  in  one  minute)  and  six 
other  pieces  of  Mechanical  Ball 
Apparatus. 


Any  one  of  the  features 

The  Beautiful  New  Manipulations 
The  30    Minute  BiUiard  Ball  Act 
The  Construction  of  the  Combina- 
tion Ball  Apparatus. 

is   -w^orth.   treble   the  Cost  of 
this     H  arxcf  some      Volume. 


O 
00 


These  Publications  sold  only  to  Magicians,  not 
sold  to  Book  Stores,  Department  Stores  or 
Libraries. 

This  unique  and  handsome  volume,  printed  on 
100-lb  Pink  Tint  Enameled  Paper,  50  photographic 
reproductions.  Art  Folio  Bindmg,  Silk  Cord 
Bound  Fifty  Cents. 

AT  ANY  STANDARD  DEALER 

In  Great  Britain,  Two  Shillings  Six  Pence 


SELECT    EFFECTS    FOR 
YOUR  PROGRAM 

The  Best  of  Latter  Day  Tricks. 
NOVEL  CARD  FLIGHT. 

From  a  full  pack,  a  card  is  freely  selected 
(no  force  employed — pack  may  be  handed 
outright  to  spectator).  The  performer  turns 
his  back  while  the  card  is  being  shown  to  the 
audience.  The  card  is  no  sooner  returned 
to  the  pack  than  the  performer  makes  a  pass 
and  commands  the  card  to  fly  into  his  pocket. 
The  spectator  himself  places  his  hand  in  the 
performer's  pocket  and  removes  the  card. 
Absolutely  no  palming  or  by-play.  Absolutely 
no  force  of  any  kind,  and  the  performer  does 
not  know  what  card  is  going  to  be  selected. 
He  does  not  "plant"  any  cards  in  other 
pockets ;  only  the  one  pocket  used ;  all  others 
are  empty,  and  none  are  faked.  No  appara- 
tus, just  the  pack.  Seems  impossible?  That's 
what  makes  it  so  good.  Theo.  Bamberg  said, 
"It  is  very,  very  clever." 

A  NEW  CARD  RESTORATION. 
A  wonderful  improvement,  inasmuch  as  there 
is  absolutely  no  forcing  employed  and  that  in- 
stead of  the  performer  taking  the  torn  pieces 
and  giving  one  of  the  pieces  (really  a  piece  of  a 
duplicate)  to  be  fitted  to  the  card  when  re- 
stored, the  performer  in  this  trick  permits  the 
spectator  to  tear  off  the  corner  himself.  Surpris- 
ing as  it  may  seem,  the  performer  doesn  't  know 
what  card  is  selected — doesn't  bother  his  head 
about  it  until  the  trick  is  over.  Read  this  over 
carefully,  and  think! 

MINDS  READ  TO  ORDER 
A  card  selected  from  any  pack  freely,  is  shuf- 
fled back  by  spectator.  The  performer  is  now 
blindfolded.  The  cards  given  to  the  spectator, 
who  silently  exhibits  them  to  the  audience,  one  at 
a  time.  When  the  selected  card  is  reached  the  per- 
former shouts  "Stop!!  You  are  holding  in  your 
hand  the  'Seven  of  Diamonds,'  which  is  the  card 


27 


selected  by  the  gentleman  in  the  fourth  row.  Am  I  right?"  His  an- 
swer is  a  good  round  of  applause  from  his  audience.  A  sensational 
trick  for  club  audiences.   Get  this  in  time  for  vour  next  cli-b  show. 


A  CARD  TRIUMPH. 

A  pack  of  cards  is  placed  in  a  goblet  upon 
the  stage.  The  performer  walks  down  among 
the  audience  and  requests  various  spectators 
to  select  any  card  desired.  As  each  card  is 
selected  the  performer  turns  around  and 
commands  that  card  to  rise  and  the  correct 
card  rises  from  the  goblet  upon  the  stage. 
No  sleights  required — even  a  beginner  who 
has  never  heard  of  "forcing"  can  work  this 
ingenious  method.  The  up-to-the-minute 
method  of  working  the  Rising  Cards. 

UNPARALLELED    SPIRIT    READINGS 

A  20th  century 
Spirit  Trick  for  use 
in  large  halls,  ban- 
quets and  lyceum 
work,  which  places 
"Men's  Revelo,"  the 
"Letter  Test"  and 
"^  similar    attempts    in 

the  primary  class.  Using  no  sealed  envel- 
opes, pads,  exchanging  sleights,  etc.  The 
only  unexposed  method  existing  to-day. 
Practically  arranged  for  professional  w^ork 
and  free  from  apparatus  and  impractical  non- 
sense. 

NOTE— All  the  above  are  included,  with 
many  others  (22  in  all),  representing  the 
cream  of  the  latest  card  and  spirit  tricks,  in 
a  book  of  12,000  words,  illustrated  by  20 
drawings  and  diagrams — playing  card  cover 
design,  as  described  below: 

"SEALED  MYSTERIES" 


"I  tell  you,  FTank, 
lie  handed  the  pack 
to  me  outright,  told 
me  to  take  out  a  card 
(after  showing  they 
were  all  different) 
while  he  turned  his 
back.  I  am  no  "spring 
chicken,"  so  I  ran 
the  cards  over  again, 
took  out  a  card  and 
then  put  the  pack  in 
my  pocket,  to  catch 
him.  He  just  turned 
around,  looked  me  in 
the  eye  and  told  me 
the  card  I  had  taken. 
Right  then  I  decided 
to  live  a  better  life." 

"But   say — " 

"Wait  a  minute! 
We  all  said  it  was 
guesswork,  so  he 
wrote  something  on  a 
slip  of  paper  and  gave 
it  to  me.  Then  had 
another  card  selected, 
and— Holy  Smoke!!  — 
when  we  looked  at  the 
paper  it  had  the  name 
of  the  card  on  it.  You 
doubt  it?" 

"Well — er-a-oh!  Of 
course,  I  believe  you. 
Bt— " 

"I  don't  blame  you, 
old  boy;  but  it's 
straight.  He  called 
it    Cards    l!4.ysterious." 


22  NEW  CARD  AND  SPIRIT  TRICKS,  50c 

Never  before  explained  (Catalog  value  over  $30.00).  All  the  best  card  tricks 
and  improvements  on  same  by  Burling  Hull  (author  of  "Expert  Billiard  Ball 
Manipulation"). 

Each  Copy  Securely  Sealed  when  received  by  purchaser,  to  preserve  contents, 
niustrated  by  many  drawings  and  photos.  Covers  in  Red,  Gold  and  Black.  We 
have  only  a  limited  share  of  the  500.     While  they  last  price  50c. 


SEALED  MYSTERIES 


Highly  Finished  "Glace"  covers,  in 
Gold,  Black  and  Red,  handsomely- 
bound. 
Many  Illustrations  in  Half- 
tone and  Line 

Sold  under  Seal  only,  to  bonafide  Magicians. 
Each  copy  reaches  the  purchaser  securely — 
Sealed  and  unopened. 

Biggest  dollar's  worth  I  ever  saw.  The 
best  tricks  simplified  so  that  anyone  can  make 
the  tricks  himself  and  perform  them.  Enough 
for  a  whole  act  of  new  tricks  for  a  parlor  or 
club  show. 

Prof.  Theodore,  Boston,  Mass. 

July  31,  1911 
"Sealed  Mysteries"  received,  read,  and 
is  certainly  O.  K. 

Evans  Brown,    Connersville,  Ind. 

July  19,  1911 
Have  a  copy  of  your  book  "Sealed  Mys- 
teries," and  it  is  fine.    Will  get  the  next  soon 
as  it  is  out. 

Herbert  M.  Richmond,  Exeter,  Nebr. 

September  19,  1911 
Tricks  are  of  excellent  merit.    I  hope  to 
use  a  few  of  the  same  in  my  card  act,  which 
I  am  now  preparing. 

John  Guntz,  Merrill,  Wis, 


Latest  Card  Mysteries  and  Spirit 
Tricks  ( first  time  explained )  with  in- 
structions for  constructing  all  the  Trick 
Cards — Special  Packs,  etc. 


"The  very  cream  of  the  latest  tricks  and  new 
inventions,  gathered  together  and  carefully  prepar- 
ed by  the  author  who  has  improved  the  working  of 
each  and  added  something  of  his  own  originality 
making  it  the  most  valuable  collection  of  absolutely 
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two  covers. 

The  tricks  are  on  scientific  principles  which 
eliminate  sleight  of  hand— and  most  remarkable  of 
all;  none  of  the  tricks  have  ever  been  explained  in 
any  other  book." 

CONTAINING 

The  famous  Sealed  Letter  Test,  the  Fly  Card 
Trick;  the  Card  Rising  Tray,  the  Devil's  Pass  and 
improvements,  the  Burling  Hull  Improved  Letter 
Test,  the  Goblin  Aces,  Monte  Cristo  Cards,  Photo 
Sprite,  Houdins  Dream,  Cards  Mysterious  and  Im- 
provements, Satan's  Secret,  Novel  Card  Discovery, 
Electra,  Trance  Cards  and  others. 

The  Cataloged  value  of  which  total  over  $30.00. 
Never  before  published  with  full  directions  for  con- 
structing all  fake  cards  and  trick  packs. 

August  11,  1911 
"Literally  the  Cream  of  the  Best  Tricks— your 
improvements  are  still  better,  and  your  instructions 
for  preparing  them  at  home  are  perfect.  Best  of  all 
they  are  all  new. " 

C.  N.  Norton,  Chicago,  111. 


Special     Offer 

This  volume  as  orginally  printed 
on  100  lb.  Enameled  Art  Paper  sold  at 
$L00  The  book  has  been  reprinted  on 
a  light  paper  of  good  grade  but  has  ex- 
actly the  same  contents  (printed  from 
electrotype)  as  previously  sold  at  $1.00 
REDUCED  PRICE  SOc 


50c. 


AT  ANY  DEALERS' 


2s  2d 


ti 


SCIENTIFIC  MIND  READING 

MErMTASM^ 


99 


OR 


II 


"GREAT  MAGICIANS  PAST  &  PRESENT" 

STARTLING  EFFECT 

IWTiTMV  '^^^  performer  hands  to  one  of  the  spectators  a  pack  or 

*  *  ^  ^^C        handsome  pink  tinted   enameled  cards   bearing  the  names 
vv,.     of  26  Great  Magicians  of  the   Past  and  Present  {the  names 


^*  were  selected  for  this  trick  by  Henry  Ridgley  Evans,  the  prom- 
inent magical  author  and  historian. )  The  spectator  secretly 
selects  one  of  the  names  and  holds  the  card  to  his  forehead. 
The  performer  who  may  be  out  of  the  room  or  blind-folded 
during  the  selection,  now  steps  over  to  the  spectator  and 
touches  his  forehead.  Like  a  flash  comes  the  answer,  "Rob- 
ert Houdin"  (or  as  the  case  may  be.)  No  matter  what  name  is  selected  theresult  is  always  the  same. 

IMPORTANT    No  marked  cards,  confederates  or  other  nonsense.    Not  like  any  other  trick. — 
It  is  NEW! 

FROM  THE  MOMENT  the  perfomer  hands  the  cards  to  the  spectator  the  performer  never  touches 
them  again. 

The  perfomer  may  be  out  of  the  room  while  the  selection  is  made  and  an  additional  effect  may 
be  obtained  by  having  him  blind-folded. 

The  Finest  Impromptu  Mystery  The  Greatest  Pockzt  Trick  in  the  World. 

Price  25Sc.  Price  1  Shilling.    PostFreelsld 

A  further  improvement  has  been  made  whereby  the  performer  can  also  tell  whether  the  magic- 
ian is  living  or  dead.  Intiproved  Method  40c. —  Is  Td 

Write  Plainly 
I  enclose for  which  send  me 


immediately  the  following: 
Expert  Billiard  Ball  Manipulation 
Bulletin  of  Latest  Tricks 
Master  Sleights  with  B.  Balls 
Art  of  The  Stage 


Sealed  Mysteries 

"Where"  Card  Trick 

"Mentasma" 

Presidential  Problem 


STRIKE  OUT  ANY  YOU  DO  NOT  ORDER 


H^me 

-SYM 

Address. 

..oJ9   ,8bh. 


Special  Priee  of  $3.SO     1  Ss.  Post  Free  if  all  are  ordered  at  one  time. 


'SLEIGHTS  WITH 
SILKS."  The  modern 
handkerchief  act. 

"THE  BUSINESS  END 
OF  MAGIC."  Making 
magic  pay. 

"ROADCRAFT,"  or  Con- 
ducting an  act  on 
tour. 

(Magical) 
"EXPERT  BILLIARD 

BALL  MANIPULA- 

TION." 

"MASTER  SLEIGHTS 
WITH  BILLIARD 

BALLS." 

"BULLETIN  OF  LAT- 
EST SLEIGHTS  AND 
TRICKS." 

Card  Tricks. 
THE  CELEBRATED 

S   E   LF-FORCIN   G 
DECKS. 

THE  SVENGALI  WON- 
DER. 

CAPT.    KIDD    DECK. 

THE  MENE  TEKEL 
MYSTERY. 

IMPR'D  CARDS  MYS- 
MYSTERIOUS. 

THE    DEVIL'S    PASS. 

THE    CARD    PROBLEM. 

"MENTASMA." 

CARD  LEVITATION. 

"WHERE?"  or  THE 
GHOST  CARD. 

PRESIDENTIAL  PROB- 
LEM,  ETC. 


MR.  BURLING  HULL  WILL,  IN 
THE  FUTURE,  WRITE  ON  MAGICAL 
SUBJECTS  ONLY  FOR  THE  AMERI- 
CAN MAGIC  CORPORATION.  HE 
HAS  ASSIGNED  TO  US  THE  PUBLJ- 
CATION  RIGHTS  TO  THE  FOLLOW- 
ING  MANUSCRIPTS,  WHICH  WE 
WILL  HAVE  READY  AT  THE  EAR- 
LIEST POSSIBLE  DATE: 


"T  H  E  CHALLENGE 

HANDCUFF  ACT." 
"THIMBLE  TRICKS." 
"SHORT-CUTS  IN 
MAGIC."  —  Simplified 
Methods  not  found  in 
magic  books,  but 
known  to  performers. 

AUTHOR  OF 

"THIRTY-ONE  ROPE 

TIES  AND  CHAIN 
RELEASES." 

"THE  ART  OF  THE 
STAGE." 

'SEALED   MYSTERIES." 

"SLEIGHT    SHEETS." 

"DEVILTRY." 

"SLEIGHTS." 

INVENTOR  OF 

Over  36  Others,  Compris- 
ing the  "Copyright 
Card  Creations" 
Series,  the  Largest 
Series  Produced  by 
any  one  Inventor  in 
which  each  trick  em- 
ploys ai  DIFFERENT 
Principle. 

SELF-WORKING  CLOCK 
DIAL  (not  Roltare's 
Method). 

THE  ROCKING  SKULL 
(without  electro-mag- 
nets, clockwork,  elec- 
trical or  any  form  of 
connection). 


"TWENTY  LESSONS 

IN  CARD  TRICKS."— 
Modernized  Card 
Tricks. 

"MANIPULATIVE 
ART." 

"MAGICAL  MECHAN- 
ICS OF  STAGE  ILLU- 
SI  A." 

(Novels,  Dramatic 
Sketches,   etc.) 

"THE  DROP  OF  WIS- 
DOM." 

"THAT  ADVENTURE 
OF   MINE." 

"THE  GHOST   MAKER." 
(Dramatic) 

"THE    SPIRITS     KNOW 
EVERYTHING." 
(Sketch) 

Mechanical      and      Stage 
Effects. 

THE        DEVIL'S       DIAL 

(obedient  pointer  with- 
out weights,  electricity, 
clockwork  or  any  con- 
nection). 

SUSPENDED  DRUM 
PRODUCTION. 

PERFECTION  BALL 
STAND. 

COMBINATI'  ALL 

STAND. 

CARDS      n  PHA''  r 

(rise). 

B.       H.       ""■'      ^L 
TERY,  *k' 

THE      l-j  *^F  ,EF 

DYIN  /  d 

nine  a  Ker- 

chief  M^'■  ,   etc., 


BURLING  HULL'S 

Bulletin  No.  1 


BULLETirt 

LATEST  5LElGUT5^TRICiC 


BURurtG  i4aiL 


BtJRUJTS  KUXJL  CO^ 


Printed  on  100  lb.  Enameled  Art 
Paper,  50  illustrations  in  Half-tone 
and  Line,  from  photos  and  drawings 
prepared  for  this  book.  Limited  issue. 


OF 

"LATEST  ADVANCED  SLEIGHTS 
AND  IMPROVED  TRICKS" 

CONTAINING 
The  very  latest  tricks  in  pure  Sleight-of-hand,  impro 
ved  and  perfected  so  that  difficult  moves  are  eliminated. 

Burling  Hull  has  achieved  his  reputation 
as  an  instructor  through  devising  orignal 
sleights  so  ingenious  that  each  forms,  a  perfect 
optical  illusion  in  itself  and  is  therefore  less 
difficult  to  excute. 

SLEIGHTS 

In  his  experience  as  a  professional  magi- 
cian, as  an  inventor  and  as  the  only  American 
instructor  in  Manipulation  Mr.  Burling  Hull 
has  devised  a  number  of  sleights,  better  count- 
ed in  series  than  individually  and  then  the  total 
runs  into  the  scores. 

From  these  he  has  carefully  selected  mas- 
ter sleights,  which  he  believes  are  most  need- 
ed by  the  professional  and  amateur  magician.  These  are  so  subtle  in  nature 
that  they  form  perfect  optical  illusions  and  thus  require  but  the  simplest  me- 
chanical movements,  possible  for  anyone  to  execute  as  they  deceive  by  their 
inate  cleverness  rather  than  the  skill  of  the  performer,  which  is  of  secondary 
importance. 

PARTIAL  LIST  OF  CONTENTS. 

L    The  Handkerchief  production  from  bare  hands  without  apparatus  or  palming. 

2.  Another  method  of  Handkerchief  production  from  bare  hands. 

3.  New  False  Shuffle  executed  by  audience. 

4.  The  Super-Supreme  Force.  Perfected  at  last!  !  Any  pack  may  be  used  and  the  performer 
can  allow  a  magician  to  select  a  card  and  even  to  change  his  selection  after  laying  his  hand  on  a 
card,  still  it  does  not  interfere  with  success  !  !  ! 

The  Pass  Surpassed 

5.  Startling  impromptu  trick  with  borrowed  cards,  easy  for  close  work.  This  is  so  simple  to 
perform  that  Mr.  Hull  teaches  it  in  the  first  lesson  to  his  pupils,  yet  it  baffles  the  keenest  eye. 

6.  Burling  Hull's  Climax  Color  Change.  The  only  genuine  change  on  a  new  principle.  Per- 
formed with  fingers  wide  apart.  A  great  success  in  the  hands  of  the  "White  Wizard,"  and  would 
be  in  yours  as  well  !  ! !  First  time  explained. 

7.  Wonder  Pass  (not  really  a  Pass.)  Cards  placed  in  center  of  pack  and  elastic  band  placed 
around  pack.  Card  appears  at  any  number  called  for.  Everything  operated  slowly. 

8.  Various  new  tricks  on  the  "Wonder  Pass"  principle. 

9.  "The  Invisible  Pass."  The  only  pass  devised  that  is  (A)  invUiblee  even  to  the  man  who 
knows  the  secret  (a  fact.)  (B)  physically  impossible  to  make  a  noise  with.  This  only  becomes  poss- 
it)le  by  using  the  new  principle  introduced.  Devised  by  Burling  Hull  especially  for  his  society  en- 
tertainments and  used  under  the  most  difficult  conditions.  Works  at  two  feet,  one  hand  used. 

10.  One  hand  production  of  a  thimble,  (after  showing  both  sides  of  hand)  at  finger  tip. 

11.  A  thimble  vanish  which  you  can  operate  a  few  inches  from  anyone's  eyes  as  slow  as  you 
like— the  nearer  the  better,  and  so  subtle  in  principle  that  even  the  initiated  cannot  tell  when  you 
intend  to  vanish  it  and  when  you  do  not!  ! 

Many  Other  Valueable  Sleights 
Any  one  of  the  above  tricks  are  worth  more  than  the  price  of  the  book.    Handsomely  illustra- 
ted by  many  photographs,  PRICE  50c.  28.  2d. 


I, 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recalL 


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General  Library 

University  of  California 

Berkeley 


